John Proctor Proctor Abigail Williams

John Proctor
In a sense, The Crucible has the structure of a classical tragedy, with John Proctor as the plays tragic hero. Honest,
upright, and blunt-spoken, Proctor is a good man, but one with a secret, fatal flaw. His lust for Abigail Williams led to
their affair (which occurs before the play begins), and created Abigails jealousy of his wife, Elizabeth, which sets the
entire witch hysteria in motion. Once the trials begin, Proctor realizes that he can stop Abigails rampage through Salem
but only if he confesses to his adultery. Such an admission would ruin his good name, and Proctor is, above all, a proud
man who places great emphasis on his reputation. He eventually makes an attempt, through Mary Warrens testimony, to
name Abigail as a fraud without revealing the crucial information. When this attempt fails, he finally bursts out with a
confession, calling Abigail a whore and proclaiming his guilt publicly. Only then does he realize that it is too late, that
matters have gone too far, and that not even the truth can break the powerful frenzy that he has allowed Abigail to whip
up. Proctors confession succeeds only in leading to his arrest and conviction as a witch, and though he lambastes the
court and its proceedings, he is also aware of his terrible role in allowing this fervor to grow unchecked.
Proctor redeems himself and provides a final denunciation of the witch trials in his final act. Offered the opportunity to
make a public confession of his guilt and live, he almost succumbs, even signing a written confession. His immense pride
and fear of public opinion compelled him to withhold his adultery from the court, but by the end of the play he is more
concerned with his personal integrity than his public reputation. He still wants to save his name, but for personal and
religious, rather than public, reasons. Proctors refusal to provide a false confession is a true religious and personal stand.
Such a confession would dishonor his fellow prisoners, who are brave enough to die as testimony to the truth. Perhaps
more relevantly, a false admission would also dishonor him, staining not just his public reputation, but also his soul. By
refusing to give up his personal integrity Proctor implicitly proclaims his conviction that such integrity will bring him to
heaven. He goes to the gallows redeemed for his earlier sins. As Elizabeth says to end the play, responding to Hales plea
that she convince Proctor to publicly confess: He have his goodness now. God forbid I take it from him!
Abigail Williams
Of the major characters, Abigail is the least complex. She is clearly the villain of the play, more so than Parris or
Danforth: she tells lies, manipulates her friends and the entire town, and eventually sends nineteen innocent people to
their deaths. Throughout the hysteria, Abigails motivations never seem more complex than simple jealousy and a desire
to have revenge on Elizabeth Proctor. The language of the play is almost Biblical, and Abigail seems like a Biblical
charactera Jezebel figure, driven only by sexual desire and a lust for power. Nevertheless, it is worth pointing out a few
background details that, though they dont mitigate Abigails guilt, make her actions more understandable.
Abigail is an orphan and an unmarried girl; she thus occupies a low rung on the Puritan Salem social ladder (the only
people below her are the slaves, like Tituba, and social outcasts). For young girls in Salem, the minister and the other
male adults are Gods earthly representatives, their authority derived from on high. The trials, then, in which the girls are
allowed to act as though they have a direct connection to God, empower the previously powerless Abigail. Once shunned
and scorned by the respectable townsfolk who had heard rumors of her affair with John Proctor, Abigail now finds that
she has clout, and she takes full advantage of it. A mere accusation from one of Abigails troop is enough to incarcerate
and convict even the most well-respected inhabitant of Salem. Whereas others once reproached her for her adultery, she
now has the opportunity to accuse them of the worst sin of all: devil-worship.
Reverend Hale
John Hale, the intellectual, nave witch-hunter, enters the play in Act I when Parris summons him to examine his daughter,
Betty. In an extended commentary on Hale in Act I, Miller describes him as a tight-skinned, eager-eyed intellectual. This
is a beloved errand for him; on being called here to ascertain witchcraft he has felt the pride of the specialist whose
unique knowledge has at last been publicly called for. Hale enters in a flurry of activity, carrying large books and
projecting an air of great knowledge. In the early going, he is the force behind the witch trials, probing for confessions
and encouraging people to testify. Over the course of the play, however, he experiences a transformation, one more
remarkable than that of any other character. Listening to John Proctor and Mary Warren, he becomes convinced that they,
not Abigail, are telling the truth. In the climactic scene in the court in Act III, he throws his lot in with those opposing the
witch trials. In tragic fashion, his about-face comes too latethe trials are no longer in his hands but rather
in those of Danforth and the theocracy, which has no interest in seeing its proceedings exposed as a sham.
The failure of his attempts to turn the tide renders the once-confident Hale a broken man. As his belief in
witchcraft falters, so does his faith in the law. In Act IV, it is he who counsels the accused witches to lie, to
confess their supposed sins in order to save their own lives. In his change of heart and subsequent
despair, Hale gains the audiences sympathy but not its respect, since he lacks the moral fiber of Rebecca
Nurse or, as it turns out, John Proctor. Although Hale recognizes the evil of the witch trials, his response
is not defiance but surrender. He insists that survival is the highest good, even if it means accommodating
oneself to injusticesomething that the truly heroic characters can never accept.

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